Edinburgh Fringe 2025 Hot Comedy Tickets: Here are 17 of the biggest comedians with shows
The physical programme was launched earlier this month, with 3,352 show across 265 venues, and some are already selling out.
It can be a fairly daunting prospect to narrow those down when organising your Fringe.
It's always nice to take a chance on something, hoping to be the first to see a hot new act - but sometimes it's just nice to see a couple of familiar faces from television.
Edinburgh has been the launching pad for a host of household names - everybody from Emma Thompson to Graham Norton started out with shows in the city.
Many enjoy returning with their latest show in August - or to try out a work on progress in front of a comedy-literate crowd before heading out on a nationwide tour.
Here are 17 of the biggest, most famous, names performing this year.
1 . Jenny Eclair
Jenny Eclair became the first woman to win the Perrier (now the Edinburgh Comedy Award) in 1995 for her show 'Prozac & Tantrums'. This year, she'll be appearing for two shows only to celebrate the 40th anniversary of the Gilded Balloon. She'll be talking about her career, which as seen her branch out into acting, writing and presenting, at the Gilded Balloon from August 8-9. | Getty Images Photo Sales
2 . Rosie O'Donnell
First finding fame in a television talent show in 1984, Rosie O'Donnell became one of the most famous faces on American television, winning mumerous Emmy Awards for her daytime talk show that saw her nicknamed the 'Queen of Nice'. She's now a prominent gay rights campaigner who is also a successful actor and author. See her at the Gilden Balloon from August 1-10 where she'll be performing new show 'Here and Now'. | Getty Images Photo Sales
3 . Nish Kumar
Former Mash Report host Nish Kumar brought work in progress show to Edinburgh last year. Now he's back with the finished product, 'Nish, Don't Kill My Vibe' at Assembly George Square from August 1-10. | Getty Images Photo Sales
4 . Smack the Pony
Emmy Award winning sketch trio Smack the Pony - Sally Phillips, Fiona Allen and Doon Mackichan - will be reforming for four shows only, entitles 'Back in the Saddle'. They'll be chatting to Kirsty Wark and "having a gallop through a few favourite sketches" at the Gilded Balloon from August 17-20. | Channel 4 Photo Sales
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Scotsman
an hour ago
- Scotsman
is it still a metal classic or has it aged like milk?
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Has Fear Factory's Demanufacture stood the test of time or, as the prosecution accuse, become a 'flimsy structure' for metal to follow? Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Fear Factory's 1995 album Demanufacture is widely considered a landmark in metal, but its legacy remains fiercely debated. Accusations range from being overly mechanistic and cold to lacking the warmth and organic feel of traditional metal Is it a pioneering work guilty of derailing a genre, or is it a misunderstood masterpiece deserving of a dramatic re-evaluation? Today, we convene in the solemn chambers of public opinion to preside over a musical case that, while critically lauded in its time, has since been subjected to scrutiny, mischaracterisation, and perhaps, a failure to fully grasp its true impact. On trial: Demanufacture by Fear Factory, a 1995 release that arrived with the force of a hydraulic press, forging a path between industrial coldness and metallic brutality. Often cited as a pioneering work, it has also faced criticisms of being too rigid, too mechanical, and even, by some, too influential in ways that led to less desirable offshoots. Advertisement Hide Ad Advertisement Hide Ad The defence, however, believes there is compelling evidence for its enduring genius and rightful place as a monumental achievement in heavy music. Before we delve into today's proceedings, let us set the scene. Is Fear Factory's Demanufacture a work of art, or is it merely a work of 'calculated aggression?' | Getty Images/Canva In the mid-1990s, the landscape of heavy music was in flux. Metal, in its traditional forms, was still powerful, but new hybrids were emerging, challenging conventions and setting the stage for what would become one of the decade's most defining, and often divisive, sounds: nu-metal. It was into this fertile, yet volatile, ground that Fear Factory emerged. Formed in Los Angeles in 1989, Fear Factory quickly distinguished themselves from their peers. Comprised of vocalist Burton C. Bell, guitarist Dino Cazares, bassist Christian Olde Wolbers, and drummer Raymond Herrera, the band forged a unique sound that relentlessly fused industrial machine-like precision with death metal's aggression and groove metal's rhythmic drive. Advertisement Hide Ad Advertisement Hide Ad They built a reputation for pioneering a distinct rhythmic assault, often employing blast beats, double bass drumming, and heavily palm-muted guitar riffs that sounded more like percussive machinery than traditional shredding. Their lyrical themes, consistently exploring the uneasy relationship between man and machine, technology and humanity, carved out a distinct conceptual identity that resonated with a generation grappling with the digital age. It was in 1995 that Fear Factory released their second studio album, Demanufacture. Upon its arrival, it was heralded by many as a ground-breaking work, a bold leap forward that redefined the boundaries of extreme music. However, over the years, Demanufacture has become a subject of considerable controversy and debate. While praised for its innovation and brutal efficiency, it has also been accused of being cold, sterile, and overly mechanical, with critics questioning its emotional depth and whether its influential sound inadvertently paved the way for more simplistic and less organic forms of metal. Advertisement Hide Ad Advertisement Hide Ad To truly analyse its impact and legacy – and to confront these long-standing accusations – we are today putting Demanufacture on 'musical trial' in the court of public opinion. Let the proceedings begin. In defence of: Fear Factory - Demanufacture The Charge The album, Demanufacture by Fear Factory, stands accused of being a sterile, overly mechanistic, and emotionally cold blueprint for a wave of metal that prioritised rhythm and aggression over organic feel and nuanced musicianship, ultimately contributing to a perceived dehumanisation of the genre. The Prosecution Ladies and gentlemen of the jury, we are presented today with an album that, on the surface, might appear to be a marvel of precision and force. Indeed, upon its release, Demanufacture was met with considerable acclaim. But I submit to you that this very precision, this relentless, machine-gun rhythm, this calculated coldness, is precisely its greatest sin. The evidence will demonstrate that Demanufacture, for all its apparent innovation, presented a stark, almost unfeeling vision of metal. The drumming, while undeniably fast, often felt more like a programmed beat than the fluid expression of a human hand. Advertisement Hide Ad Advertisement Hide Ad As one reviewer noted regarding drummer Raymond Herrera's work, it's "precision machine gun fire drum work," often raising questions of "whether his drum work is not redone to some extent with studio magic, because it is totally mind blowing, despite the fact that he rarely touches his cymbals." This "machine-like" quality, while impressive, sacrifices the organic warmth of human performance. The guitar riffs, precise and percussive, largely eschewed the melodic complexity and dynamic range that defined earlier eras of metal, reducing the instrument to a rhythmic hammer. Critics have pointed out that Demanufacture "doesn't try to wow you with high-pitched vocals or blazing guitar solos as this album features absolutely none of that." This minimalist approach to traditional metal elements, while a deliberate choice, stripped away much of the expressive freedom cherished by purists. Even the vocals, while shifting between guttural roars and clean, almost ethereal melodies, often contributed to an unsettling dichotomy rather than a cohesive emotional landscape, with some finding the clean vocals "somewhat off key" at times Advertisement Hide Ad Advertisement Hide Ad We contend that this album, by "prioritising mechanisation over human elements" [paraphrased from general criticism], laid the groundwork for a future where metal became less about fiery passion and more about calculated aggression, paving the way for bands that would imitate its mechanical precision without capturing its conceptual ambition. It streamlined, it systematised, it... de-manufactured the very soul of heavy music, leading to a sound that, "while powerful, often sounded very lifeless when compared to their later work" and "very compressed by today's standards." It set a precedent for a sound that, in less capable hands, often became predictable, repetitive, and ultimately, devoid of the human element. The defence may speak of innovation, but we will show you an album that, despite its power, ultimately sacrificed warmth and humanity for the cold, unyielding embrace of the machine. This album, we contend, is guilty of establishing a blueprint that, while powerful, often led metal astray. Advertisement Hide Ad Advertisement Hide Ad The defence Members of the court of public opinion, I appreciate the arguments that the Prosecution has levied against the album, but I remind them of the state of metal at the time. This was in 1995, where the metal genre was just on the cusp of breaking into mainstream avenues through acts such as Korn, Limp Bizkit, and in later years, Linkin Park. Where some groups might have changed their formula to reflect the change in trends, I argue that Fear Factory "evolved" their sound not simply to be accessible for newer fans of the genre, but to ensure they did not alienate older fans of their industrial style. Demanufacture indeed sounds emotionally cold and lacks organic warmth; but that is precisely the point of the album. It's a meticulously crafted concept album about a man's struggles against a machine-controlled government, with each song a chapter in his life. As the band themselves stated, the album took its inspiration from the movie The Terminator, and within that context, the 'stark, unfeeling' nature of the album and lack of organic warmth is not a flaw, but a deliberate and essential artistic choice. This is an album that is meant to evoke emotions of technology taking over organic matter, and thus had to prioritise mechanisation over human elements. Not just that, but the very nature of industrial metal lends itself to having a cold, mechanical resonance to it, and I point to the likes of Nine Inch Nails or Godflesh as previous evidence of this aesthetic being central to the genre. Advertisement Hide Ad Advertisement Hide Ad The charges of being lifeless and compressed, giving it a powerful, suffocating feel, are exactly the kind of emotions Fear Factory looked to evoke with the work. Again, members of the court, this is a concept album about technology taking over. The relentless, percussive guitaring perfectly compliments the blunt force nature of the drumming, giving listeners such as myself vivid images of mechanical presses, whirling machinery, and cold, metallic elements as part of the story's chilling narrative. This wasn't a flaw; it was a masterful sonic design choice that immersed the listener in the album's dystopian vision. As for the charge against Burton C. Bell's vocals, his performance perfectly embodies the album's themes of man versus machine. What the Prosecution labels as "off-key" is, I submit, an unfair and superficial judgment. The stark contrast between the desperate, vulnerable human element of Bell's clean singing and the cold, almost automated yells, demonstrates the harrowing duality of the album's core concept. Advertisement Hide Ad Advertisement Hide Ad It's the sound of humanity struggling for breath against an overwhelming, artificial perfection, and in many respects, a chilling premonition of what life, according to Demanufacture, has become. This vocal interplay isn't a weakness; it's a dynamic storytelling device, full of nuanced emotion that transcends simple melody. Furthermore, to label Demanufacture as a "harmful blueprint" that led metal "astray" is to fundamentally misunderstand its pioneering spirit. This album was not simply following trends; it was very much steadfast in the industrial metal blueprint, while expertly borrowing from the burgeoning groove metal scene that was popular at the time. That it didn't lead metal "astray" should be more of a testament to the importance of the record across the metal genre, rather than dismissing it as building "flimsy structures" going forwards. It's not Fear Factory's fault if other artists were inspired, influenced, or outright cribbed from them and produced second-rate imitations—much like it is unfair to blame The Beatles for a "flimsy structure" regarding the raft of British pop acts that followed them or an act like The Libertines being accused of laying a formula for what has been called these days as 'landfill indie.' True innovation, like that found on Demanufacture, always risks inspiring lesser imitations. This album's influence should be celebrated, not condemned, for opening new sonic pathways in heavy music. I rest my case, your honour(s) Advertisement Hide Ad Advertisement Hide Ad What is your verdict on Fear Factory's 1995 album Demanufacture? Share if you're for or against the album by leaving a comment down below, and catch Fear Factory when they peform at Bloodstock Open Air 2025 in August 2025.
Scotsman
3 hours ago
- Scotsman
is it still a metal classic or has it aged like milk?
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Has Fear Factory's Demanufacture stood the test of time or, as the prosecution accuse, become a 'flimsy structure' for metal to follow? Sign up to our Arts and Culture newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Fear Factory's 1995 album Demanufacture is widely considered a landmark in metal, but its legacy remains fiercely debated. Accusations range from being overly mechanistic and cold to lacking the warmth and organic feel of traditional metal Is it a pioneering work guilty of derailing a genre, or is it a misunderstood masterpiece deserving of a dramatic re-evaluation? Today, we convene in the solemn chambers of public opinion to preside over a musical case that, while critically lauded in its time, has since been subjected to scrutiny, mischaracterisation, and perhaps, a failure to fully grasp its true impact. On trial: Demanufacture by Fear Factory, a 1995 release that arrived with the force of a hydraulic press, forging a path between industrial coldness and metallic brutality. Often cited as a pioneering work, it has also faced criticisms of being too rigid, too mechanical, and even, by some, too influential in ways that led to less desirable offshoots. Advertisement Hide Ad Advertisement Hide Ad The defence, however, believes there is compelling evidence for its enduring genius and rightful place as a monumental achievement in heavy music. Before we delve into today's proceedings, let us set the scene. Is Fear Factory's Demanufacture a work of art, or is it merely a work of 'calculated aggression?' | Getty Images/Canva In the mid-1990s, the landscape of heavy music was in flux. Metal, in its traditional forms, was still powerful, but new hybrids were emerging, challenging conventions and setting the stage for what would become one of the decade's most defining, and often divisive, sounds: nu-metal. It was into this fertile, yet volatile, ground that Fear Factory emerged. Formed in Los Angeles in 1989, Fear Factory quickly distinguished themselves from their peers. Comprised of vocalist Burton C. Bell, guitarist Dino Cazares, bassist Christian Olde Wolbers, and drummer Raymond Herrera, the band forged a unique sound that relentlessly fused industrial machine-like precision with death metal's aggression and groove metal's rhythmic drive. Advertisement Hide Ad Advertisement Hide Ad They built a reputation for pioneering a distinct rhythmic assault, often employing blast beats, double bass drumming, and heavily palm-muted guitar riffs that sounded more like percussive machinery than traditional shredding. Their lyrical themes, consistently exploring the uneasy relationship between man and machine, technology and humanity, carved out a distinct conceptual identity that resonated with a generation grappling with the digital age. It was in 1995 that Fear Factory released their second studio album, Demanufacture. Upon its arrival, it was heralded by many as a ground-breaking work, a bold leap forward that redefined the boundaries of extreme music. However, over the years, Demanufacture has become a subject of considerable controversy and debate. While praised for its innovation and brutal efficiency, it has also been accused of being cold, sterile, and overly mechanical, with critics questioning its emotional depth and whether its influential sound inadvertently paved the way for more simplistic and less organic forms of metal. Advertisement Hide Ad Advertisement Hide Ad To truly analyse its impact and legacy – and to confront these long-standing accusations – we are today putting Demanufacture on 'musical trial' in the court of public opinion. Let the proceedings begin. In defence of: Fear Factory - Demanufacture The Charge The album, Demanufacture by Fear Factory, stands accused of being a sterile, overly mechanistic, and emotionally cold blueprint for a wave of metal that prioritised rhythm and aggression over organic feel and nuanced musicianship, ultimately contributing to a perceived dehumanisation of the genre. The Prosecution Ladies and gentlemen of the jury, we are presented today with an album that, on the surface, might appear to be a marvel of precision and force. Indeed, upon its release, Demanufacture was met with considerable acclaim. But I submit to you that this very precision, this relentless, machine-gun rhythm, this calculated coldness, is precisely its greatest sin. The evidence will demonstrate that Demanufacture, for all its apparent innovation, presented a stark, almost unfeeling vision of metal. The drumming, while undeniably fast, often felt more like a programmed beat than the fluid expression of a human hand. Advertisement Hide Ad Advertisement Hide Ad As one reviewer noted regarding drummer Raymond Herrera's work, it's "precision machine gun fire drum work," often raising questions of "whether his drum work is not redone to some extent with studio magic, because it is totally mind blowing, despite the fact that he rarely touches his cymbals." This "machine-like" quality, while impressive, sacrifices the organic warmth of human performance. The guitar riffs, precise and percussive, largely eschewed the melodic complexity and dynamic range that defined earlier eras of metal, reducing the instrument to a rhythmic hammer. Critics have pointed out that Demanufacture "doesn't try to wow you with high-pitched vocals or blazing guitar solos as this album features absolutely none of that." This minimalist approach to traditional metal elements, while a deliberate choice, stripped away much of the expressive freedom cherished by purists. Even the vocals, while shifting between guttural roars and clean, almost ethereal melodies, often contributed to an unsettling dichotomy rather than a cohesive emotional landscape, with some finding the clean vocals "somewhat off key" at times Advertisement Hide Ad Advertisement Hide Ad We contend that this album, by "prioritising mechanisation over human elements" [paraphrased from general criticism], laid the groundwork for a future where metal became less about fiery passion and more about calculated aggression, paving the way for bands that would imitate its mechanical precision without capturing its conceptual ambition. It streamlined, it systematised, it... de-manufactured the very soul of heavy music, leading to a sound that, "while powerful, often sounded very lifeless when compared to their later work" and "very compressed by today's standards." It set a precedent for a sound that, in less capable hands, often became predictable, repetitive, and ultimately, devoid of the human element. The defence may speak of innovation, but we will show you an album that, despite its power, ultimately sacrificed warmth and humanity for the cold, unyielding embrace of the machine. This album, we contend, is guilty of establishing a blueprint that, while powerful, often led metal astray. Advertisement Hide Ad Advertisement Hide Ad The defence Members of the court of public opinion, I appreciate the arguments that the Prosecution has levied against the album, but I remind them of the state of metal at the time. This was in 1995, where the metal genre was just on the cusp of breaking into mainstream avenues through acts such as Korn, Limp Bizkit, and in later years, Linkin Park. Where some groups might have changed their formula to reflect the change in trends, I argue that Fear Factory "evolved" their sound not simply to be accessible for newer fans of the genre, but to ensure they did not alienate older fans of their industrial style. Demanufacture indeed sounds emotionally cold and lacks organic warmth; but that is precisely the point of the album. It's a meticulously crafted concept album about a man's struggles against a machine-controlled government, with each song a chapter in his life. As the band themselves stated, the album took its inspiration from the movie The Terminator, and within that context, the 'stark, unfeeling' nature of the album and lack of organic warmth is not a flaw, but a deliberate and essential artistic choice. This is an album that is meant to evoke emotions of technology taking over organic matter, and thus had to prioritise mechanisation over human elements. Not just that, but the very nature of industrial metal lends itself to having a cold, mechanical resonance to it, and I point to the likes of Nine Inch Nails or Godflesh as previous evidence of this aesthetic being central to the genre. Advertisement Hide Ad Advertisement Hide Ad The charges of being lifeless and compressed, giving it a powerful, suffocating feel, are exactly the kind of emotions Fear Factory looked to evoke with the work. Again, members of the court, this is a concept album about technology taking over. The relentless, percussive guitaring perfectly compliments the blunt force nature of the drumming, giving listeners such as myself vivid images of mechanical presses, whirling machinery, and cold, metallic elements as part of the story's chilling narrative. This wasn't a flaw; it was a masterful sonic design choice that immersed the listener in the album's dystopian vision. As for the charge against Burton C. Bell's vocals, his performance perfectly embodies the album's themes of man versus machine. What the Prosecution labels as "off-key" is, I submit, an unfair and superficial judgment. The stark contrast between the desperate, vulnerable human element of Bell's clean singing and the cold, almost automated yells, demonstrates the harrowing duality of the album's core concept. Advertisement Hide Ad Advertisement Hide Ad It's the sound of humanity struggling for breath against an overwhelming, artificial perfection, and in many respects, a chilling premonition of what life, according to Demanufacture, has become. This vocal interplay isn't a weakness; it's a dynamic storytelling device, full of nuanced emotion that transcends simple melody. Furthermore, to label Demanufacture as a "harmful blueprint" that led metal "astray" is to fundamentally misunderstand its pioneering spirit. This album was not simply following trends; it was very much steadfast in the industrial metal blueprint, while expertly borrowing from the burgeoning groove metal scene that was popular at the time. That it didn't lead metal "astray" should be more of a testament to the importance of the record across the metal genre, rather than dismissing it as building "flimsy structures" going forwards. It's not Fear Factory's fault if other artists were inspired, influenced, or outright cribbed from them and produced second-rate imitations—much like it is unfair to blame The Beatles for a "flimsy structure" regarding the raft of British pop acts that followed them or an act like The Libertines being accused of laying a formula for what has been called these days as 'landfill indie.' True innovation, like that found on Demanufacture, always risks inspiring lesser imitations. This album's influence should be celebrated, not condemned, for opening new sonic pathways in heavy music. I rest my case, your honour(s) Advertisement Hide Ad Advertisement Hide Ad
The Herald Scotland
10 hours ago
- The Herald Scotland
‘You've got to have dreams' - EastEnders star in Fringe show
But when she reveals she's set to walk away from EastEnders to appear at the Fringe for a fee that would barely keep her in pie and mash for a few days, the eyebrows still soar skyward. You're trading in a glossy, glam studio Michelle, for a dressing room the size of a Sindy doll's shoebox? In August, the north Londoner is set to appear in Edinburgh in Motorhome Marilyn. She explains the premise of the one-woman play, and the compulsion to create the role. 'Back in the day, I used to go back and forwards to Los Angeles quite a bit. Then, about seven years ago, I was outside the Chinese Theatre where the lookalikes hang around and I saw this woman dressed as Marilyn, wearing the white iconic halter neck dress, the platinum hair, the lot. But she was getting out of an old American motorhome – and was putting money in the meter. Read more: 'And I thought to myself 'Wow, that's a great visual!' And as I watched her, she turned and waved, but I realised she was as old as me, not at all like the rest of the young Marilyn lookalikes in the area. Later, I was told she lived around the area. But this woman really stuck in my mind. How did she come to live this life? What was her backstory?' Collins never managed to find out the woman's tale, but having developed her own theatre projects in the past she commissioned writer friend Stewart Permutt to come up with a script to match the visual she had witnessed. The result is beguiling; Denise is an English girl who headed to Hollywood years ago with her boyfriend to try her luck in the movies. But things didn't work out as planned. And the result was she becomes a Marilyn impersonator, working the convention centre and parties, eking out a living while sleeping in her campervan in parking lots. That's all tragic enough, but Collins illustrates that the play asks the deeper question; what is the true cost of failure? And what is Denise's secret that she keeps? However, the 'Marilyn' story Collins helped construct didn't slide onto the Fringe stage effortlessly at all. Five years ago, the venue was booked, the posters drawn – and then Covid attacked. 'And Stewart contracted Covid, and never wrote again,' says the actor, in soft voice. 'And he died last year.' Permutt had insisted however the play should appear at some point and writer Ben Wetherill was brought in to re-draft the tragi-comedy survival story. Collins reveals it has another theme. 'We do judge people in this world,' she explains. 'But we have to consider that no one sets out to become a Marilyn impersonator and live in a run-down campervan. She's also eccentric, but someone who ran away from home and we learn what happened to her.' Are there echoes of Alan Bennett's Lady in The Van and mental health issues? 'Do you know what, I think you're right. I'd forgotten about that play. This is also about someone who's homeless, and eccentric, but once had a very different life. The difference (from Lady in the Van) is Denise is obsessed with Marilyn and her home is a shrine to the legend.' Michelle Collins (Image: Agency) Michelle Collins, who also starred in Coronation Street, was never obsessed with Monroe but admits that her fascination has amplified hugely during research. 'She was far more intelligent than is suggested- she started her own production company way before others were doing it. She was political and felt strongly about civil rights and took the major studios to court. And the way she was treated was terrible. Hollywood at the time was brutal.' It's not hard to discern the commitment in Collins' voice to taking on the Marilyn role. And she wanted to take on the sort of role that is so often denied to females in the business. 'We are living in a world that's obsessed with youth. It's all about Netflix and sexy young things. But I don't think people want to see that all the time. They want to see older people perform. And that's why I think EastEnders is particularly good for having older people at the centre of the stories.' She adds; 'But when you hit your 40s the lead roles don't come as often as they did. So, you have to fight for them.' Or create them. But wasn't there a risk in asking the TV soap for a leave of absence to take to the stage? 'I was determined I wanted to do it,' she says smiling. 'Thankfully, after a sharp intake of breath the producer agreed.' She adds; 'But I've always been creative. I like to go out of my comfort zone, and I've never conformed really.' That's so true. Collins was prepared to leave the comfort and wage joy of EastEnders to take her chances. And bold enough to return after a 25-year break. Particularly when her character Cindy, incidentally, was dead. 'Yes!' she declares. 'When I went back, I felt very much an alien and an outsider. I was scared to go back for many reasons. I worried if people would be interested in Cindy anymore. Would I still be able to play her? Would I be accepted (by the cast). And of course, yes, she was dead.' The actor laughs. 'But thankfully people have now forgotten she was away for all those years in a witness protection scheme.' Collins' voice becomes more animated as she talks of performing at the Fringe for the very first time, after years of being an audience member. 'You know, I don't believe in failure anymore. I'm going to make sure I enjoy this. And blimey, I'm in the third act of my life now, (she's 63) but I've got a lot of energy. And you've got to keep trying new things.' The actor adds; 'I needed to do this. And you've got to have dreams, haven't you. Mine is to make this play success.' Motorhome Marilyn, the Gilded Balloon Patter House, Edinburgh, July 30 to August 25, at 5.30pm. To purchase tickets for the Fringe, please click here
